In Korea Town Los Angeles, a young man, Kengo, believes he's the son of God - that's what his mother told him since he was a young boy. He spends his days working his dead-end job and ... See full summary »
Depicts the life of a family in a remote Japanese timber village. Family head Tahara Kozo lives with his mother Sachiko, wife Yasuyo, nephew Eisuke and young daughter Michiru. Economic ... See full summary »
A little girl, Mui, went to a house as a new servant. The mother still mourns the death of her daughter, who would have been Mui's age. In her mind she treated Mui as her daughter. 10 years... See full summary »
Tran Anh Hung
Tran Nu Yên-Khê,
Man San Lu,
Thi Loc Truong
Takemura has no friends and no family. He's a student but he doesn't have any particular ambitions. In other words, he isn't going anywhere fast. Were all this not enough, the sorry sad ... See full summary »
Third part in Aleksandr Sokurov's quadrilogy of Power, following Moloch (1999) and Taurus (2001), focuses on Japanese Emperor Hirohito and Japan's defeat in World War II when he is finally confronted by General Douglas MacArthur who offers him to accept a diplomatic defeat for survival.
Due to his Western name, Tony was shunned by other kids and spent a solitary childhood. Though gifted as an artist, his drawings lacked feeling, so as an adult, he carved a career as a technical illustrator. Then in middle age, Tony suddenly falls for a pretty young woman, Eiko Konuma, who visits him one day on business. Eiko is like an angel in Tony's daily existence, and for the first time in his life, he feels connected to the outside world. However, Eiko does have one fault: she's a clothing shopaholic. Confusion also begins to develop when it appears that Eiko has a double. Written by
Sujit R. Varma
Visually, this film ranks with those of classic Japanese directors to a degree one rarely encounters today.
Every shot is a gem that reinforces the tight sterile world the characters inhabit.
The film narrative is a comment on the materialist obsessions of Japanese life, as well as the exclusion of the Japanese aesthetic--deriving from both Japanese fascism and the influence of Western culture.
I would certainly like to see more of Jun Ichikawa's films made available on video.
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